It was an audio-cassette filled with the voice of her father telling outrageous stories about his hunting expeditions with his famous older brother, Ernest Hemingway. In this mesmerizing book, Hilary transcribes these stories, revealing the bond between two larger-than-life brothers -- and tells of her own quest to make peace with the painful parts of the Hemingway legacy.

    In Dangerous Ambition, Susan Hertog chronicles the separate but intertwined journeys of these two remarkable women writers, who achieved unprecedented fame and influence at tremendous personal cost.   American Dorothy Thompson was the first female head of a European news bureau, a columnist and commentator with a tremendous following whom Time magazine once ranked alongside Eleanor Roosevelt as the most influential woman in America. Rebecca West, an Englishwoman at home wherever genius was spoken, blazed a trail for herself as a journalist, literary critic, novelist, and historian. In a prefeminist era when speaking truth to power could get anyone—of either gender—ostracized, blacklisted, or worse, these two smart, self-made women were among the first to warn the world about the dangers posed by fascism, communism, and appeasement.   But there was a price to be paid, Hertog shows, for any woman aspiring to such greatness. As much as they sought voice and power in the public forum of opinion and ideas, and the independence of mind and money that came with them, Thompson and West craved the comforts of marriage and home. Torn between convention and the opportunities of the new postwar global world, they were drawn to men who were as ambitious and hungry for love as themselves: Thompson to the brilliant, volatile, and alcoholic Nobel Prize winner Sinclair Lewis; West to her longtime lover H. G. Wells, the lusty literary eminence whose sexual and emotional demands doomed any chance they may have had at love. Tragically, both arrangements produced troubled sons, whose anger and jealousy at their mothers’ iconic fame eroded their sense of personal success.   Brimming with fresh insights obtained from previously sealed archives, this penetrating dual biography is a story of twinned lives caught up in the crosscurrents of world events and affairs of the heart—and of the unique trans-Atlantic friendship forged by two of the most creative and complex women of their time.

    S. Lewis's famed but apparently disorganised Chronicles of Narnia have an underlying symbolic coherence, pointing to such possible unifying themes as the seven sacraments, the seven deadly sins, and the seven books of Spenser's Faerie Queene. None of these explanations has won general acceptance and the structure of Narnia's symbolism has remained a mystery.Michael Ward has finally solved the enigma. In Planet Narnia he demonstrates that medieval cosmology, a subject which fascinated Lewis throughout his life, provides the imaginative key to the seven novels. Drawing on the whole range of Lewis's writings (including previously unpublished drafts of the Chronicles), Ward reveals how the Narnia stories were designed to express the characteristics of the seven medieval planets - - Jupiter, Mars, Sol, Luna, Mercury, Venus, and Saturn - - planets which Lewis described as "spiritual symbols of permanent value" and "especially worthwhile in our own generation." Using these seven symbols, Lewis secretly constructed the Chronicles so that in each book the plot-line, the ornamental details, and, most important, the portrayal of the Christ-figure of Aslan, all serve to communicate the governing planetary personality. The cosmological theme of each Chronicle is what Lewis called 'the kappa element in romance', the atmospheric essence of a story, everywhere present but nowhere explicit. The reader inhabits this atmosphere and thus imaginatively gains connaitre knowledge of the spiritual character which the tale was created to embody.Planet Narnia is a ground-breaking study that will provoke a major revaluation not only of the Chronicles, but of Lewis's whole literary and theological outlook. Ward uncovers a much subtler writer and thinker than has previously been recognized, whose central interests were hiddenness, immanence, and knowledge by acquaintance."

    Lynskey delves into how Orwell's harrowing Spanish Civil War experiences shaped his concern with political disinformation by exposing him to the deceptiveness of people he'd once regarded as allies against fascism: the Soviets and their Western apologists.

    Describing the silliness and feminine fatuity of many popular books by lady novelists, George Eliot perfectly skewers the formulaic yet bestselling works that dominated her time, with their loveably flawed heroines.Essay first published for Westminster Review in 1856.

    She thinks she sees through everyone and rules over a family of dependents with knowing cynicism. But there are two people in Redborough who resist her. One is Hester, a young relation with a personality as strong as Catherine's, and as determined to find a role for herself. The other is Edward, who Catherine treats like a son. Conflict between the young and the old is inevitable, and in its depiction of the complex relationships that develop between the three principal characters, Hester is a masterpiece of psychological realism. In exploring the difficulty of understanding human nature, it is also a compulsive story of financial and sexual risk-taking that inevitably results in a searing climax.Margaret Oliphant is one of the great Victorian novelists, and this edition re-establishes her importance.

    Lewis' The Discarded Image paints a lucid picture of the medieval world view, as historical and cultural background to the literature of the Middle Ages and Renaissance. It describes the image discarded by later ages as the medieval synthesis itself, the whole organization of their theology, science and history into a single, complex, harmonious mental model of the universe. This, Lewis' last book, was hailed as the final memorial to the work of a great scholar and teacher and a wise and noble mind.

    It concludes with a moving meditation on a modern world robbed of imagination--a world without religion, without art--and on the difficulties of faith in a disbelieving age. In between are previously uncollected stories and poems, a pageant of scenes from seventeenth-century Massachusetts, five late "golf dreams," and several of Updike's commentaries on his own work. At the heart of the book are his matchless reviews--of John Cheever, Ann Patchett, Toni Morrison, William Maxwell, John le Carré, and essays on Aimee Semple McPherson, Max Factor, and Albert Einstein, among others. Also included are two decades of art criticism--on Chardin, El Greco, Blake, Turner, Van Gogh, Max Ernest, and more.Updike's criticism is gossip of the highest order, delivered in an intimate and generous voice.

    First published in 1935, it is still being read throughout the English-speaking world and has been widely translated. Hamlet has excited more curiosity and aroused more debate than any other play ever written. Is Hamlet really mad? Does he really see his father's ghost, or is it an illusion? Is the ghost good or bad? What does it all mean? Dover Wilson brings out the significance of each part of the complex action, against the background. His analysis of the play emphasises Shakespeare's dramatic art and shows how the play must be seen and heard to be understood. This is a readable, entertaining and scholarly book.

    But it's also true, as Sebastian Faulks argues in this remarkable book, that the novel helped invent the British: for the first time we had stories that reflected the experiences of ordinary people, with characters in which we could find our reality, our understanding and our escape.In Faulks on Fiction, Faulks examines many of these enduring fictional characters from over the centuries -- Heroes from Tom Jones to John Self, Lovers from Mr Darcy to Lady Chatterly, Villains from Fagin to Barbara Covett, and Snobs from Emma Woodhouse to James Bond -- and shows us how they mapped and inspired the British psyche, and continue to do so.Published to coincide with a major BBC series, Faulks on Fiction is an engaging and opinionated look at the psychology of the British through their literature, and a unique social history of Britain from one of our most respected writers.From the Trade Paperback edition.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    In this volume, Dr. Leatherbarrow shows that far from being merely a philosophical religious tract, The Brothers Karamazov is an enjoyable and accessible novel. He discusses its major themes, including atheism and belief, the nature of man, socialism and individualism, and the state of European civilization, focusing particulary on those themes of justice, order and disorder, in whose revolutionary treatment he sees the real significance of this literary landmark.

    1095 and crusading fervour has swept Europe. Christ's fief of Jerusalem has been seized by the Infidels. The Frankish Knights of the West are to march east to liberate the Holy City. Hugh de Payens and Godefroi of St Omer, the soon-to-be founders of the Templar Order, and Hugh's younger sister, Eleanor, leave the security of their homes in Burgundy, France, with a plan to join Count Raymond of Toulouse's army, and march across the known world to Jerusalem.Follow the crusaders as they march through Europe into the glories of Byzantium and onto Syria. Witness the hardships, bloodshed and trickery on their treacherous travels to the Holy Land and know that though the crusaders' journey, and this novel, will end with their entry into the Holy City, the Crusades have yet to begin in earnest.

    Frank Kermode, Britain's most distinguished scholar of sixteenth-century and seventeenth-century literature, has been thinking about Shakespeare's plays all his life. This book is a distillation of that lifetime of thinking.The finest tragedies written in English were all composed in the first decade of the seventeenth century, and it is generally accepted that the best ones were Shakespeare's. Their language is often difficult, and it must have been hard even for contemporaries to understand. How did this language develop? How did it happen that Shakespeare's audience could appreciate Hamlet at the beginning of the decade and Coriolanus near the end of it?In this long-awaited work, Kermode argues that something extraordinary started to happen to Shakespeare's language at a date close to 1600, and he sets out to explore the nature and consequences of the dynamic transformation that followed. For it is in the magnificent, suggestive power of the poetic language itself that audiences have always found meaning and value. The originality of Kermode's argument, the elegance and humor of his prose, and the intelligence of his discussion make this a landmark in Shakespearean studies.